Yamaha DX27S Manuale d'uso - Pagina 3

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BASIC VOICE PROGRAMMING

PROCEDURE

1. CHOOSING AN

ALGORITHM

This is almost always the first step in programming any voice, since it is the con-

figuration of operators in each algorithm which determines the type of voices that

can be produced. The "almost" in the preceding sentence refers to the fact that in

some cases you might end up choosing a different algorithm than the one you started

with in order to improve the voice. In any case, an algorithm must be selected before

you can go any further in the programming process.

The following algorithm/voice type breakdown

may serve as a rough guide in

choosing a particular algorithm for the type of voice you have in mind. This guide,

however, need not be strictly adhered to. Mainly experience will help you find the

best algorithms for your own original voices.

ALGORITHMS 1, 2, 3 and 4

These are all single-carrier algorithms, providing the most complex FM modulation.

They are best for plucked strings (guitar, harp, bass, harpsichord, etc.), hammered

strings (acoustic piano, etc.), reed wind instruments (clarinette, oboe, sax, etc.),

woodwinds

(flute, piccolo, etc.), and conventional synthesizer type voices. AL-

GORITHM 3 is a good choice for programming bowed strings (violin, cello, etc.),

as well as some horn and brass voices.

ALGORITHM 5

ALGORITHM 6

ALGORITHM 6 has three carriers, all modulated

at the same

time by a single

modulator. It is useful for brass, horns, etc.

ALGORITHMS 7 and 8

These have 3 and 4 carriers, respectively. Both of these algorithms are best suited

for creating smooth, gentle voices. ALGORITHM

7 does have one FM stack which

permits the addition of bright, sharp elements to the voice, while ALGORITHM

is made up of all carriers, ideal for organ type voices.

You might find it interesting and educational to go through the preset voices and

(in the EDIT mode) look at which algorithms have actually been used for the various

voices.